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In an opinion piece in Forbes earlier this year, technology writer, Aj Agrawal, called 2017 “The Year of Video Marketing.” Certainly, video content has seen tremendous growth and expectations are for that to continue. According to a recent report by Hubspot, this year, “video content will represent 74% of all Internet traffic.” For book promotion, authors and publishers have been using video in the form of book trailers for years and in that time, the trailer format has gained fans and detractors.

But digital storytelling can take many forms – and there are many tools now to make video creation – animations, topical timelines, interactive maps, slide shows and advertisements – easier than ever and they’re often free. I’ve written in the past about some of the timeline and animating platforms like Dipity, PowToon and GoAnimate, but there are a number of new tools and formats that offer additional formats worth experimenting with and imagining what might fit well into your plans for marketing books you write or illustrate.

One format is the cinemagraph, which you’ve probably seen even if you aren’t familiar with the term. These are seemingly still photos, but have one video element that moves and will repeat in a loop. To create a cinemagraph, with a program like Cinemagr.am or Flixel, you start with a short video, you then highlight, extract and save a small portion of the clip and that will then become the static element that the rest will play against – either in forward motion, reverse, or alternating forward-reverse. Once your cinemagraph is created, you can then add filters and hashtags and post on social media. Biteable is a very easy-to-use new online tool that can be used for free or an upgraded $100/yr. to create a mini presentation, slide show, intro piece or “explainer” video in just a few minutes. Claiming to be “The World’s Simplest Video Maker,”

Biteable provides templates that include scenes – either as animation, footage or still images, and then gives options for selecting a color palette and music – or you can upload custom colors or your own sound file. You can then add images, text and hashtags – and then Biteable will email you a finished file – mine took less than 15 minutes.

Fast forward to the next wave: A little over a year ago, Facebook announced the launch of 360-degree video, a format that bears watching as an outgrowth of Facebook’s purchase of Oculus Rift and their aggressive push in virtual reality technology. With 360 video, the film that’s produced allows the person filming to capture what they’re seeing in a full 360 degrees and the viewer can look at that video and by dragging their cursor, see in what the videographer saw in all directions – in front, all around and behind. This allows the viewer to share the full experience of that moment. The 360 cameras, like Samsung’s Gear 360 cost several hundred dollars, but that’s likely to come down as more enter the field.

Robert Castillo, Award-winning Director, Animator, Storyboard Artist

I was born with a pencil in my hand, or so the story goes! Ever since I can remember drawing has been a vital part of my life. It’s something I have been doing all my life. Drawing was the tool which helped me communicate with others. In 1977 when I stepped off the plane from Santo Domingo, I knew not a word of English and drawing was how I communicated. I was born here in the United States, but was raised in the island of Santo Domingo and did not speak English.

My family has stories of me drawing on walls; on the furniture and doodling on my father’s college books. In school, I was constantly in hot water because all I wanted to do was draw.

Today, I still draw. I am a Storyboard Artist. My job is to take a script and a story and illustrate it and bring it to life! I meet with the director and try to see what is in his head. A storyboard is similar to a Comic Book, where you have sequential images that tell a story. I love movies and I love to draw so I am very happy doing what I do.

For people interested in doing Storyboards, the first thing I would suggest is putting up an easy-to-navigate website that shows your best storyboard work. If you do not have any professional experience yet, just put up any samples that you do have. When a client calls, be honest with them if they ask you what project the sample work is from. If it is not from an actual job, then just say so. Do not let your lack of experience become an issue. Try to promote yourself and find an agent if you can. There are agencies like Storyboards Inc. or Famous Frames that are always looking for new talent. Storyboard agents are not absolutely necessary. It depends on what city you live in. If you are in a smaller market town, you may want to have an agent to see if it works for you.

Professional storyboard artists charge $600 per day and higher. It is up to you to know the value of your work. Rates are listed in The Handbook of Pricing and Ethical Guidelines. It is published every year by the Graphic Artists Guild. When a client contacts you about your rates, get all the details you can and be able to tell the client how many frames you are able to do in a day or how long it will take you to complete the project. Negotiating the rate is something that you will have to get a personal feel for, and finally you have to draw well, so whenever you get a chance practice your story boarding skills. There are many books and videos out there full of useful information. Many DVDs also have special features, and of course the web is full of resources and examples.

He has also done music videos for Alicia Keys, Ja Rule, Kid Rock, Lauren Hill and Don Omar; commercials for Phat Farm, Adidas, And 1; as well as promo work and music videos for MTV, Nickelodeon’s Ironman, Fuse, VH1, Court TV and ESPN.

Michael Astrachan, President and Creative Director, XVIVO LLC

XVIVO art and animation

[youtube=http://youtu.be/nlbDP7uymO0?t=21s]

How did you get started in medical animation?

While I was in school at UConn I started airbrushing t-shirts and started selling them at craft shows and then at malls. All the time I continued to study and did the airbrushing and t-shirts for ten years. I also sold at fairs, like the North Haven (Agricultural) Fair. After ten years, I was totally burned out from being on my feet all the time and from the fumes. So, about 15 years ago, I started pursuing computer animation, which was a young field at the time.

To find clients, I began calling video production studios and small agencies. I became friends with a lot of people I was working with and for some unknown reason I started to get a lot of medical clients. So with medical, I just followed it and taught myself and consulted with others to learn what I needed to know. While doing all that, I also continued my art training.

What differentiates you and your company?

One thing that differentiated me was that I didn’t have a fear of failure or of trying new things. I always believed I’d figure out what I needed to know. It’s one of the things I think can be a big problem for people, which is that they look at something new and think, “I don’t know how to do that,” and then won’t push themselves to learn. Then they blame the rest of the world for not being able to get ahead with what they want to do, but if they open their minds they might find that there is an opportunity that they are missing.

When I started in animation, I was married, had a child, and had to learn a whole new career. To succeed, I knew I had to make myself visible and indispensable – whether I was working for myself or for someone else. The first job I had, I started out as an intern and did just this, I worked weekends help to get the company awarded some jobs and I was quickly hired and went on to become lead animator. As always I pushed myself to do new things and improve my work.

Now, with my company, XVIVO, we continue that tradition by looking for ways to make our process more efficient. After projects we do postmortems to see what we could have done better. We constantly review, reexamine and evolve our processes.

Are there opportunities you’d suggest to people entering the field?

Medical animation is a growing field and great for those who are good artists and have an interest in science. You need good composition, editing and design skills as well as good training in traditional art and painting. I think that having a solid foundation in art is good for anything visual – illustration, working with images, website design, etc.

People interested in pursuing this field can look for specialized graduate programs, and there are some undergrad programs out there as well.

What networking tips would you recommend to find opportunities in medical animation?

Networking is so important. The Association of Medical Illustrators, is a great resource for those wanting to learn about the field. It’s the place where you can meet others who are doing similar work and it is a great resource. To find business, you’d want to look at medical ad agencies, video production agencies, and pharmaceutical companies. Interning is a good way to go, but know it can take a couple years to break in.

My advice to people pursuing the arts is to work hard, stay focused, look for new opportunities and don’t get discouraged. Don’t be afraid to approach people and sell yourself. Making connections is what it’s all about.

Michael Astrachan has been involved in the visual arts for over twenty-five years and is one of the founders of XVIVO LLC, a leader in the field of scientific animation. As president and head of the creative team at XVIVO, Michael brings to animation a sophisticated knowledge of artistic naturalism, grounded in strong technique. Michael draws upon his extensive fine arts background and leads his team to develop visually compelling animations of scientific content. XVIVO was recently selected by The International Academy of Visual Arts to receive a 2012 Communicator Award. XVIVO clients have included Amgen, Bayer, Disney, GlaxoSmithKline, Harvard, HBO, Johnson & Johnson, Merck, NOVA, PBS, Smithsonian, TEDMED, and Yale University.